I raised the camera, pretended to study a focus which did not include them, and waited and watched closely, sure that I would finally catch the revealing expression, one that would sum it all up, life that is rhythmed by movement but which a stiff image destroys, taking time in cross section, if we do not choose the essential imperceptible fraction of it.
I'm such a jerk; it had never occurred to me that when we look at a photo from the front, the eyes reproduce exactly the position and the vision of the lens; it's these things that are taken for granted and it never occurs to anyone to think about them.
One of the many ways of contesting level-zero, and one of the best, is to take photographs, an activity in which one should start becoming adept very early in life, teach it to children since it requires discipline, aesthetic education, a good eye and steady fingers.
The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another level, lends the theater its unparalleled imperfection faced with the perfection of film. I don't want to write anything but takes.
Now that I think about it, it seems to me that's what Idiocy is: the ability to be enthusiastic all the time about anything you like, so that a drawing on the wall does not have to be diminished by the memory of the frescoes of Giotto in Padua.
Memory weaves and traps us at the same time according to a scheme in which we do not participate: we should never speak of our memory, for it is anything but ours; it works on its own terms, it assists us while deceiving us or perhaps deceives up to assist us.
The fantastic breaks the crust of appearance something grabs us by the shoulders to throw us outside ourselves. I have always known that the big surprises await us where we have learned to be surprised by nothing, that is, where we are not shocked by ruptures in the order.
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